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Amazon.co.uk Review
This 1967 quartet recording features two then-young musicians now seen as veterans. While Joe Henderson, on whose debut album Tyner had played back in 1963, was still forging his reputation, the pianist himself was far better known after spending five-and-a-half years with the leading group of the day, the John Coltrane Quartet. For his first outing on the already prestigious Blue Note label, Tyner completed the line-up with his Coltrane colleague Elvin Jones on drums and Miles Davis's bassist Ron Carter. The five Tyner compositions which make up this set are by now standard jazz repertoire and, in most cases, have been re- recorded by Tyner as well as by others. This hardly detracts from the power of the originals, for tunes like "Passion Dance" and "Contemplation" gain from the beneficial tension between the participants and the then-unfamiliar material. By the time of the closing medium-tempo "Blues On The Corner", the tension has evaporated but the urgency is still there and, though the whole performance is more straight-forward and less intense than latter-day Coltrane, the quality of Tyner's music is undiminished by time. --Brian Priestley
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Amazing 1967 session with Joe Henderson, Ron Carter & Elvin Jones. (RVG 24BIT REMASTER)
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Most Helpful Customer Reviews
26 of 26 people found the following review helpful
Format:Audio CD
This is one of pianist McCoy Tyner's most famous records and features him with fellow Coltrane Quartet member, drummer Elvin Jones. The bass is played by the excellent Ron Carter whilst the only horn is played by tenor maestro Joe Henderson.
Whilst the expectations are likely to be music in the spirit of John Coltrane, Henderson is more his own man. The combination of Tyner and Jones has an interesting effect on tenor players and the meeting with Wayne Shorter on "Ju-Ju" (another classic) sees Shorter sounding more like Coltrane than on any other outing.
Here, Henderson pursues his unique and unorthodox style, his meandering approach hoovering up all the harmonic possibilities.
Of the five tracks it is true that the opening , modal, "Passion Dance" (based on two chords) and the mournful "Contemplation" are just the things Coltrane dug. However, the next track "Four by five" plays around with time signatures (still working out just how !) and is far more eubullient than anything Tyner recorded with his old boss. "Search for peace" is a beautiful ballad and the closing "Blues on the corner" has all the lopsided humour of Monk. And with Jones pushing things along from his drums, you can bet that the music really swings.
All in all, an enjoyable, if short CD. The only grumble is that the sound is not a great as some remastered Blue Notes, but don't let this put you off some fantastic music.
Whilst the expectations are likely to be music in the spirit of John Coltrane, Henderson is more his own man. The combination of Tyner and Jones has an interesting effect on tenor players and the meeting with Wayne Shorter on "Ju-Ju" (another classic) sees Shorter sounding more like Coltrane than on any other outing.
Here, Henderson pursues his unique and unorthodox style, his meandering approach hoovering up all the harmonic possibilities.
Of the five tracks it is true that the opening , modal, "Passion Dance" (based on two chords) and the mournful "Contemplation" are just the things Coltrane dug. However, the next track "Four by five" plays around with time signatures (still working out just how !) and is far more eubullient than anything Tyner recorded with his old boss. "Search for peace" is a beautiful ballad and the closing "Blues on the corner" has all the lopsided humour of Monk. And with Jones pushing things along from his drums, you can bet that the music really swings.
All in all, an enjoyable, if short CD. The only grumble is that the sound is not a great as some remastered Blue Notes, but don't let this put you off some fantastic music.
1 of 1 people found the following review helpful
Format:Audio CD|Amazon Verified Purchase
The title says it all. McCoy Tyner (happily still with us at 73) is one of the greatest, most consistent of jazz pianists, and this album tells you all you need to know about why that should be.
The two tracks that bookend this tremendous, easygoing yet always challenging disc have titles that might sum up this glorious music - Passion Dance and Blues On The Corner. Tyner never neglects emotion in his playing, nor does he forget for long the blues. The first two numbers here are classic expressions of both. Four By Five has a more exploratory, `modern jazz` vibe, giving the always to-the-point tenor sax of the splendid Joe Henderson plenty of room to roam.
Search For Peace (this was recorded in `67) is a suitably ruminative number by Tyner - as are all five selections - in which the pianist plays a solo to melt any heart, his accomplices entering into the spirit of the piece in complementary fashion, Henderson offering an unsentimental, beautifully phrased solo that leads into a gently cathartic fade-out. Lovely.
Blues On The Corner ends this perfectly remastered reissue on a very high note, leaving this sated listener wanting yet more of this enchanting music.
There are many dream teams on the jazz records that came from Blue Note in the 50s and 60s, and this one is one of the choicest. Ron Carter`s bass never lets you down,
the great, seemingly always available Elvin Jones graces any date, and Henderson is
luxury casting, a forever underrated player whose intelligent sax playing is always a boon, never a hindrance.
McCoy Tyner was and is one of the greats. Here`s why.
Exultant, classic jazz.
The two tracks that bookend this tremendous, easygoing yet always challenging disc have titles that might sum up this glorious music - Passion Dance and Blues On The Corner. Tyner never neglects emotion in his playing, nor does he forget for long the blues. The first two numbers here are classic expressions of both. Four By Five has a more exploratory, `modern jazz` vibe, giving the always to-the-point tenor sax of the splendid Joe Henderson plenty of room to roam.
Search For Peace (this was recorded in `67) is a suitably ruminative number by Tyner - as are all five selections - in which the pianist plays a solo to melt any heart, his accomplices entering into the spirit of the piece in complementary fashion, Henderson offering an unsentimental, beautifully phrased solo that leads into a gently cathartic fade-out. Lovely.
Blues On The Corner ends this perfectly remastered reissue on a very high note, leaving this sated listener wanting yet more of this enchanting music.
There are many dream teams on the jazz records that came from Blue Note in the 50s and 60s, and this one is one of the choicest. Ron Carter`s bass never lets you down,
the great, seemingly always available Elvin Jones graces any date, and Henderson is
luxury casting, a forever underrated player whose intelligent sax playing is always a boon, never a hindrance.
McCoy Tyner was and is one of the greats. Here`s why.
Exultant, classic jazz.
5 of 6 people found the following review helpful
Format:Audio CD
Which contemporary pianists have exerted a fundamental influence in the history of jazz, up to the point of becoming an inescapable reference for anyone approaching this instrument? Arguably, Bill Evans and McCoy Tyner. McCoy's percussive style, his choice and disposition of different voices within chords and the modal style, developed during the 60s with his friend John Coltrane, are the key elements that position him as one of the most significant chapters of the entire history of jazz. Furthermore, McCoy Tyner is the founder of a completely new school within jazz piano tradition. The Real McCoy is probably his masterpiece and surely the best introduction to his innovative style.
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Most Recent Customer Reviews
Excellent mid-60s Blue Note quartet date
This is McCoy Tyner from 1967 - post-Coltrane, but still working here with Elvin Jones and adding Joe Henderson (tenor sax) and Ron Carter (bass). Read more
Published 14 months ago by Paul Bowes
Fantastic!
I loved this album.
I really don't know that much about Jazz & Jazz musicians (note the distinct lack of Jazz 'buzzwords' & patter), but this album is fantastic.
Published on 15 Oct 2003 by "bipandbop"
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